Many printed music editions from the 16th and 17th centuries have come down to us incomplete. Starting from the case study of the collection Motetti concertati a due voci by Tomaso Cecchini (Venice, 1613), this article intends to offer some theoretical and methodological reflections and outline a possible course of valorisation of the incomplete repertoire, also touching on the problem of the reconstruction of the missing parts.
Valorizzare un’opera incompleta: il caso dei “Motetti concertati a due voci” di Tomaso Cecchini (Venezia, 1613)
Gabriele Taschetti
2022
Abstract
Many printed music editions from the 16th and 17th centuries have come down to us incomplete. Starting from the case study of the collection Motetti concertati a due voci by Tomaso Cecchini (Venice, 1613), this article intends to offer some theoretical and methodological reflections and outline a possible course of valorisation of the incomplete repertoire, also touching on the problem of the reconstruction of the missing parts.
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